The Night of the Golden Spikes
by Andriech
Summary: Grant sends Jim and Artie to the rain-soaked ceremony uniting the Trans-Continental Railroad - where some of the attendees are not who the appear to be. Jim's connection to Lincoln makes him determined to stop the plot to destroy the railroad - and the country! Originally a script for the Cawley Entertainment Company internet series Back to the Wild Wild West. Complete. Please R&R!
1. Chapter 1

The Wild Wild West

"The Night of the Golden Spikes"

by E. Thropp

(Patty Wright)

DISCLAIMERS: I don't own crap, yadda yadda yadda

This was a script for the Cawley Entertainment Company series "Back to the Wild Wild West". James Cawley had a lot of input into it, and it was fun working with him on it. About half of it was filmed in the fall of 2011 - with James Cawley as West and Paul R. Sieber as Gordon. Production of this episode has since been abandoned. If the production of this series continues it will be with a different script by a different author.

You can see clips from this episode by searching YouTube for them. You can also find a lot of stills on my FaceBook page.

As such, it's formatted as a script rather than as the usual "prose story". The following will give you an idea of how a script is formatted and written for television. Action and scenes are left justified. Diologue is centered, with the speakers name capitalized. It, therfore, takes a bit to get used to the format and "rhythm"/flow... but it will eventually be second nature if you give it a chance.

THIS SCRIPT IS REGISTERED WITH THE WGA.

Teaser

FADE IN:

EXT. WHITE HOUSE

Establishing shot.

SUPERIMPOSE: "White House April 14, 1865"

INT. SITTING ROOM

A well appointed man's Victorian-era sitting room: lit dimly in foreshadow.

JAMES WEST, dressed in a Civil War Federal captain's uniform, sits stiffly on a couch: hat laying beside him. In front of him is a cocktail table, on which sits an open leather document holder (and a stove-pipe hat?). Though seated, he is clearly still "at attention." He holds a formal document.

West places the paper back on the document holder. Across from him is ABRAHAM LINCOLN, but we don't see him yet.

WEST

I'm honored by the offer, Sir, but now that the war is over I...

West stops. Considers. Decides to tell the bold-faced truth.

WEST (CONT'D)

I'm not interested in chasing down counterfeiters.

The response is silence for a moment. When West's companion speaks, his eloquent and refined manner of speech is very identifiable as Lincoln.

LINCOLN

You bring to mind myself as a young man.

WEST'S POV: Lincoln!

LINCOLN (CONT'D)

I was, at the time, unaware that a world existed where the choice of one's words were dependent on the intended outcome rather than the meaning.

West considers this - but it's hard for him to believe his conclusion.

WEST

I believe that's called a lying...Sir.

LINCOLN

It heartens me that you see it that way: not many men still do. The terrible times now ended have left a shadow on most. But for you in this world exists that which is right, and that which is not. It is for that reason you are one of the men I personally selected for this new service to our country.

WEST

I'm still confused about what work the "Secret Service Division" of the treasury will actually be doing.

LINCOLN

As this nation begins to heal we must be evermore on guard of those within our borders that would do us harm. Counterfeiters... yes. But more importantly, Intelligence gathering and counter-intelligence work is absolutely necessary to keep this hard won, yet fragile peace.

West understands now.

WEST

I'll be a spy.

LINCOLN

Exactly. And I assure you: we will arrange the finest cover story for you with which to operate, answering only to me.

West is intriqued, a gleam in his eye.

LINCOLN (CONT'D)

Captain West, I prevail upon you to strongly consider accepting this assignment with great care. This Country needs you now more than ever.

(looking at his pocket watch)

My Heavens, I seem to have lost track of the hour, We shall speak more of this at dinner following the theater.

WEST

(rising)

Of course, Mister President.

INT. FORD'S THEATER HALLWAY

ESTABLISHING SHOT:

A completely deserted hallway. We can HEAR muffled sounds of a performance of "Our American Cousin" on the stage.

CLOSE SHOT: on closed door with a sign that reads "W.C."

The door opens and West ENTERS the hallway, dressed in his uniform. The door sticks as he tries to close it and he turns, his full attention and getting the door to close.

It does. West turns into the hallway - directly into the path of a hurrying man knocking the man flat on his back.

West is mortified.

WEST

Excuse me, Sir! I am sorry-

He moves to help the man up -

WEST (CONT'D)

Are you alright?

The man is dressed in a black frock coat, wears spurs, and can be recognized now as the strikingly handsome JOHN WILKES BOOTH.

BOOTH

(impatient, irritated)

Yes, yes!

WEST

Let me help you...

He's slapping away West's attempts to help right his coat and person.

BOOTH

(angry)

You've done quite enough already!

Booth plunges down the hall.

West sees -

WESTS POV

- on the floor: a men's handkerchief.

NORMAL POV

West bends over and picks it up and looks at it.

CLOSE ON HANDKERCHIEF

- the embroidered initials: "J. W. B."

NORMAL POV

An annoyed LIEUTENANT ARTEMUS GORDON approaches.

GORDON

Jim! Have you seen Parker?

We HEAR distant laughter from the theatre.

GORDON (CONT'D)

The fool isn't at his post!

From the direction Booth went, we HEAR a GUNSHOT - then a SCREAM.

West spins and takes off running down the hallway -

- as he arrives at a door on the left of a dead end: an empty wooden chair sits at the dead end. DOCTOR CHARLES LEALE is struggling to open the door.

West pushes him away and steps back, kicking the door in.

Through the action we HEAR Booth shout:

BOOTH (o.c.)

Sic semper tyrannis! The South is avenged!

- and it crashes open. We SEE Lincoln slumped in MARY TODD LINCOLN'S lap. She and CLARA HARRIS are screaming. MAJOR RATHBONE, holding onto his bleeding arm, is leaning over the box wall, yelling:

RATHBONE

Stop that man!

As Gordon arrives we HEAR women screaming and the theatre crowd turning to chaos -

- we freeze on West's expression of utter disbelief.

END TEASER


	2. Chapter 2

ACT ONE

INT. SITTING ROOM

Same room: brightly lit - five years later.

West and ARTEMUS GORDON are standing, hats in hands.

PRESIDENT GRANT is seated, a lit cigar in his hand as he relaxes.

GRANT

Gentleman, The transcontinental railroad is the last of my predecessors' great plans for this country: and I mean to see it through.

GORDON

President Lincoln proposed the idea of a railroad connecting east and west to Granville Dodge when he was still just a lawyer.

WEST

It is rewarding to know that his dream will be fulfilled, Sir.

(West pauses in thought)

We were there...the night he was murdered.

GRANT

I remember it well: a black night indeed. Jim, I also know you blamed yourself and that's utter nonsense. There was nothing you could have done to stop it: there was nothing any of us could have done.

WEST

It doesn't feel that way, Sir.

GRANT

We can't change past Jim: we move forward. The Union Pacific line is absolutely vital to our continued growth and economic stability as a nation.

GORDON

Which I assume brings us to the matter at hand: the upcoming celebration in Utah?

GRANT

As usual Mr. Gordon, your perception is right on the money. Nothing must interfere with it's completion. My safety aside, I need you and West to pick up the ceremonial golden spikes from the Federal Reserve and make sure they are delivered to Promontory and protected until I arrive for the ceremony.

GORDON

You can count on us Mr. President.

WEST

Rest assured Sir, nothing will prevent us from seeing this through.

GRANT

Good. I'll join you for the ceremony. Safe travels, Gentleman.

They acknowledge.

DISSOLVE TO:

EXT. STREET - DUSK

SUPERIMPOSE: "Promontory, Utah: May 7, 1869"

A temporary western town which went up to finish the transcontinental railroad and will be dismantled when it's finished. There are only a few real buildings occupying the foreground: a hotel, a bank, and a saloon. Tents of every shape and size stretch toward the mountains in the background along the muddy street - wet from recent hard rain.

Stretching over the street, hanging from building to building, SIGNS hang announcing the impending completion of the railroad and the driving of the "last spike". The street is alive with a bustle of Italian and Chinese railroad workers, tourists, and the worst kind of riffraff imaginable come for the event.

INT. WEST'S HOTEL ROOM - MOMENTS LATER

Brightly lit from an OIL LAMP turned up high. Present are West, Gordon, and Grant: dressed for a semi formal reception.

CLOSE ON:

A table which contains the oil lamp; TWO round, wide CANDLESTICKS of metal; and a CUT GLASS VASE which is glowing a pale green color. Gordon's hands hold a TIE SLIDE which he moves toward the vase.

We HEAR a whine coming from the slide.

NORMAL POV

On the wall behind them is a LOOKING GLASS. West is dressed in one of his good suits, so he doesn't need the slide - yet he's dutifully waiting patiently with his hands clasped in front of him through Gordon's demonstration. He tries to be vaguely impressed - though he doesn't understand a word of it.

The slide silences as Gordon moves it away from the vase. He turns the lamp down to normal and the vase's glow dims.

WEST

(easily)

Congratulations, Artie: you invented accessories that identify table wear that glows.

Gordon is thrilled with his little invention. As he moves the slide toward the vase and the whine begins, growing louder as it gets closer to it. Away - and the whine lessens, then silences.

GRANT

Now what's the point of this latest device you are tinkering with, Gordon?

GORDON

(excited)

You see, this slide contains a bubble of low density gas and a wire chamber which can detect when any Q-metal is nearby. The more Q-metal, the louder the tone!

West and Grant are like two parents with a child prodigy. They don't understand any of it, but exchange an amused, patient look with each other.

WEST

And this is important somehow?

GORDON

Q-metal is going to revolutionize the world! One and a half times as dense as lead: bullets will be smaller, faster and penetrate deeper.

West's done it now: there's no stopping him.

GORDON (CONT'D)

It can be used for ballast, armor, weapons: and it's natural florescence makes it invaluable for coloring false teeth, enamel, porcelain...

They can only feign interest so long. They start to move toward the door, West pulling Gordon along..

GRANT

We're late for the reception.

INT. HOTEL HALLWAY - CONTINUOUS

As they move down the hallway...

GORDON

(still pleased with himself)

I'm thinking decades from now they could call this invention the "Gordon Counter".

WEST

I don't know, Artie: are there that many Gordon's to count?

INT. HOTEL RECEPTION ROOM - MOMENTS LATER

A reception that was certainly meant to be gala but, frankly, there are not enough elegant people in town to make it so. There are no tables: it's a standing affair, and the ruffians and townspeople that make up most of the guests are there mostly for the free drinks/food. The few officials stand out in the crowd by their - well, clean and coordinated - attire. They include DAVID HEWES, a Sacramento but down to Earth multimillionaire (think Jim Henson); Arizona GOVERNOR SAFFORD; EDGAR MILLS; REVEREND TODD; GENERAL DODGE, Billy Lambert (Booth in disguise, with hair long hair enough to cover his neck) - a dapper business man who wears gentlemen's gloves, walks with a slight limp and uses a CANE, and photographer ELIZABETH BOWE (Lucy Lambert Hale - Booth's fiance - in disguise) who carries a BOX CAMERA and camera bag (which is too late for the period but this is WWW so we don't care.)

SERVANTS/WAITERS/HOSTESSES wind their way through the guests carrying TRAYS of DRINKS, CIGARS, APPETIZERS. We...

FOLLOW

...a SERVANT balancing a tray of drinks as he passes a TABLE with TWO CHERRY WOODEN BOXES resting on it, both under GLASS..

CLOSE ON:

the glass cube protecting one of the boxes. The box has an open hinged cover and is lined with dark blue velvet. Laying in the velvet are TWO GOLDEN RAILROAD SPIKES - their sides covered with inscriptions.

NORMAL POV

As West, Gordon and Grant ENTER we see that the table has a prominent place in the room and holds a second matching box and cover. (This box contains a SILVER RAILROAD SPIKE and a RAILROAD SPIKE WITH A SILVER SHAFT AND GOLD HEAD.) (There could also be two silver mauls and a railroad tie of California laurel on display somewhere in the room.)

Seeing Grant, those gathered immediately stop enmasse and turn. Lambert/Booth can't resist being a showman and raises a toast to the President.

BOOTH

To the President: Welcome!

The crowd raises their glasses and repeat

CROWD

Welcome!

Grant beams happily, acknowledging the toast.

GRANT

Some of the more prominent citizens begin pressing in on Grant, separating him from the Secret Service Agents.

Reaching out to grab a cigar from a servant's tray as he passes, Grant moves into the crowd jovially.

West and Gordon watch him, resigned to his enjoying the party, and not much concerned.

West's vision is distracted: noticing -

THEIR POV

The several attractive WOMEN in the crowd. END on shot of Hale, camera in hand, taking a photo.

ON WEST AND GORDON

West appears pleased by the guests.

WEST

Guard duty isn't all that - unpleasant.

Gordon's eyes follow West's. His face splits into a wild wolf grin. There is just no other way to describe it.

GORDON

No, my dear man: it is not.

NORMAL POV

Hewes, hovering anxiously over the table with the boxes, motions to the two men.

HEWES

(irately)

Mr. West! Mr. Gordon!

West and Gordon move to join Hewes: West's eyes surveying the room for Grant even as he moves. He does this throughout the conversation.

GORDON

Mister Hewes, your reception seems to be going splendidly. You must be pleased.

HEWES

Pleased?! With these spikes just laying out here for the taking of any - _ruffian_ that decides he wants them? I was told the utmost security would be taken!

Yes: yet another prime assignment for the best Secret Service agents in the division. And they are well aware of that fact.

WEST

(diplomatically)

Under the circumstances this is the safest place for your gold spikes.

GORDON

It's most unlikely that anyone is going to attempt to steal these right out here in the open with everyone watching.

Hewes wavers. West's eyes still survey the crowd throughout the conversation, only half engaging in it.

WEST

The glass is alarmed. The inside of the boxes are alarmed.

GORDON

With an added feature I came up with: if the weight of the spikes varies even the slightest, this room will fill with blaring noise that will wake the dead back in Washington.

Booth approaches and joins the group.

BOOTH

If you are unhappy with the security, you could always take it up with the President, Hewes.

That seems extreme, even to Hewes. He finally relaxes.

Booth's eyes are on West: whom he recognizes.

HEWES

No, no: it all sounds quite copasetic. I'm just not used to all this hullabaloo like you are, Mr. Lambert.

Booth is rolling a cigar between his fingers as he prepares to light it. Four years of hiding in plain sight have not changed the lavish style of this society gent.

BOOTH

Seems like all this hullabaloo is your making.

West eyes Booth: feeling like there is something familiar about the man, but unable to place what it is.

HEWES

Just the ceremony, my dear man. I felt the completion of President Lincoln's last great plan couldn't go by without great pomp and circumstance!

Booth's smile is downright snarly.

BOOTH

I couldn't agree more.

The servant pauses by the men with his tray of drinks. They all reach for one...

WEST

President Lincoln saw the transcontinental railroad as a way unite this country. I made a personal commitment to be here and see that his dream is realized.

...and the servant moves away.

West's visually searching through the crowd again. He notes -

WEST'S POV

- Grant's location chatting with guests again.

HEWES

The success of this project means a great deal to me as well.

NORMAL POV

BOOTH

Which is why you haven't invested a dime in it.

Hale pauses by them with her camera. Hale, a beautiful woman in her late twenties with dark hair and striking blue eyes, has a manner which is subtle brew of flattery, teasing and cajoling; of rapt attention laced with a hints of indifference.

She listens in as they continue.

Gordon comes to his defense.

GORDON

Mister Hewes is a brilliant businessman that has made a fortune on a dozen enterprises...

HEWES

(candidly, lightly)

...and seen them all fail and the fortunes disappear.

No one wanted to go there. But, well, there's no denying the truth.

Hale raises her camera.

HEWES (CONT'D)

It's cathartic to keep failing. Keeps me on my toes.

BOOTH

If you were on your toes, you wouldn't keep failing.

HALE

Gentlemen?

They stop and pose before the spikes.

HEWES

Which is why I left supplying all the rails to you and your business pursuits, Mr. Lambert.

She takes a picture.

BOOTH

Someone responsible had to be entrusted to actually build the railroad.

This is getting downright prickly, and Gordon tries to divert the conversation.

Hale is pulling the photo plate out of the camera, replacing it...

HALE

Another, gentlemen?

GORDON

(through his toothy smile)

All these photos are getting wearisome.

As she takes a picture...

The camera's pov

The four men, but it moves beyond to the Old Servant pausing at a door. He glances back at Hale and...

NORMAL POV

She lowers the camera and pulls the plate out again. It's not having photos of himself taken West is interested in.

HALE

Mr. Hewes guaranteed all photographers complete access and cooperation - even we amateurs.

WEST

(thinly)

Something else we have to thank him for.

She points, they pose, and she clicks the camera. As she lowers it she leaps to Hewes defense with all her feminine wiles turned on.

HALE

This is a media event that is sure to be copied for generations to come! Just think - with the telegraph wires attached to the golden spikes, the completion of the railroad will be heard immediately in both Washington and San Francisco!

West and Gordon are finally not entirely devoted to watching Grant - which is a common effect of her charms. Like a switch being thrown, we see both their charms turn on full throttle.

GORDON

Why, if it wasn't for Mr. Hewes' steam shovels, there wouldn't be a San Francisco...

And they're competing: as usual.

WEST

..not as we know it. The whole business district was created by his initiative. Surely a sight to see.

Hewes watches the scene with delight. Booth, for his part, is apparently bored out of his mind. His eyes drift...

HALE

I've never actually seen it - been there, I mean. Just in photographs is all.

Booth's eyes meet those of -

BOOTH'S POV

- two ruffians, BEN and JERRY.

NORMAL POV

Booth nods to them.

GORDON

Such a lovely lady as you should most definitely see it in person.

WEST

- with a proper escort of course.

It's pretty clear who he's suggesting. She's hooked - apparently.

Behind the group BEN and JERRY begin to argue.

Hale glows.

WEST (CONT'D)

And preparation too. I could brief you on know what to expect: over dinner, perhaps.

The argument behind them grows loud and distracting.

Hale

That would be lovely, Mister West.

WEST

Call me Jim.

Gordon's lost and he gives up.

GORDON

(ruefully)

Be sure to take plenty of photographs.

In an explosion of movement, a fight breaks out between Ben and Jerry. One of them throws a punch at the other and he goes flying backward.

The two men turn immediately to attack others nearby. It was never a fight between them - and immediately the room is a sea of madness as the fight erupts simultaneously between most of the townspeople in the room.

West and Gordon instantly drive toward Grant in opposite directions of the room.

Politicians, servants and women scramble to get out of the way.

Booth quietly ducks out of the room.

West grabs Grant and dives toward a door - dragging him toward safety.

As they arrive at the door, West pushes him to Gordon, who takes Grant out the door...

West turns to block a blow: returning it and knocking the man back. West is immediately embroiled in the fight.

INT. HOTEL HALLWAY - CONCURRENTLY

Dimly lit. Everyone is at the party.

Except -

- the servant shuffles down the hall and opens West's door...

INT. HOTEL RECEPTION ROOM - CONCURRENTLY

The fight continues: it's mass mayhem.

Ben and Jerry are thrown back - or, more accurately, throw themselves - onto the table with the spikes and it smashes under their weight: the glass, boxes and spikes go flying in pieces everywhere.

ALARMS blare and LIGHTS start flashing.

Gordon steps back in through the door (with Grant safely secured now) and grabs a REMOTE CONTROL out of his jacket pocket and silences the alarms and lights.

As the fight continues we

FOLLOW

Ben and Jerry as they grab the freed gold spikes and scramble out of the room through the fighting.

NORMAL POV

SHERIFF WELD ENTERS the room from outside, a rifle (or gun) in hand. He promptly fires it at the ceiling.

The fight immediately ceases.

Weld surveys the room.

WELD

Anyone dead?

The "gentlemen" gathered are more than a little put off by the question. The townspeople are not.

GORDON

No one's dead?! Is that all that matters to you?

Hewes and Booth begin searching for the spikes.

WELD

This ain't the first Hell on Wheels town I been sheriff of, and it ain't gonna' be my last. We've had twenty four murders in last twenty four days.

He surveys the damage in the room.

WELD (CONT'D)

No one died today: that makes it a good day.

West and Gordon are once again thrilled with their assignment. Grant doesn't belong here.

Hewes and Booth find the two silver spikes.

But not the gold ones.

HEWES

The gold spikes: they're gone!

West and Gordon exchange a look. They are unimpressed and unconcerned.

GORDON

I can certainly see how that would be a problem...IF those were the real gold spikes.

HALE

(wide eyed and vapid)

Why, what do you mean?!

WEST

Hewes was right. Leaving them out in the open would have been foolhardy.

GORDON

Which is why we have the real gold spikes tucked away, safe and sound.

The people gathered are rather impressed.

GORDON (CONT'D)

You have our word: not one is going to get hold of the two gold spikes.

Off their faces melting in relief...

INT. WEST'S HOTEL ROOM - CONTINUOUS

The servant at the wall. The looking glass is slid upward, revealing a SAFE that it hid.

The safe is open and the man reaches in: pulls out -

TWO GOLD SPIKES -

FREEZE FRAME

END ACT ONE


	3. Chapter 3

ACT TWO

INT. WEST'S HOTEL ROOM - LATER

Hewes, Booth, Hale, Grant, and Gordon are standing near the table with the candlesticks. The safe is standing open and West moves toward them, holding the open strong box in his hands.

WEST

You see, just as we promised: safe and sound.

He tips the box up so they can see... the TWO GOLD SPIKES in the box.

Grant is self satisfied. He picked these agents for a reason.

Relief is obvious on the guests faces. Strangely, West appears relieved too.

HEWES

Forgive me for doubting you. It's just that I...

Gordon picks one up, holds it for them to see, fingering it...

BOOTH

...don't have a very good track record.

GORDON

Rest assured, here they are: just as you -

He falters, his face freezing as he examines the spike in his hand: something is very wrong with it. He saves the moment...

GORDON (CONT'D)

...entrusted to us.

He glances at West, who understands immediately that something is wrong.

So does Grant.

It's the other shoe that West was waiting to drop. He moves toward the door in an act of dismissal.

Booth says nothing, but it's clear he knows something is wrong too.

WEST

If you'll excuse us, I think we should redouble our efforts to protect these until the ceremony in the morning.

As they are corralled by West, Booth gives a nod to Hale to tell her to stay.

GORDON

Given that we've already seen one attempt to steal them.

West is pushing them out the door. He's a man possessed.

Hale tries feverantly to stay.

HALE

And our dinner?

WEST

Another time.

HALE

But...

WEST

A celebration dinner: after the ceremony.

She recovers quickly.

HALE

If you insist.

Closing the door behind her..

WEST

I do.

He heads over to Gordon and Grant immediately.

GRANT

(urgently)

What's wrong?

GORDON

This!

CLOSE ON:

His hand as he pushes his thumbnail right INTO the spike.

NORMAL POV

Grant doesn't like where this is going.

GRANT

Gordon, tell me your fingernail is made out of steel.

GORDON

No, sir. It appears that this spike is made of soft metal: I'd wager 17.6 karat gold to be exact.

WEST

You put the real spikes in the safe by mistake.

West grabs one of the candlesticks, removes the candle...

Uncharacteristically, he sounds annoyed with Gordon. Gordon is aware of it: and insulted.

GORDON

The spikes I put in the safe were iron painted gold. I'm positive of it.

West isn't convinced. He twists off the top of the candlestick and upends it: dropping a GOLD SPIKE out of it into Gordon's hand.

Gordon examines the new spike. As West does the same with the other candlestick.

As Gordon hands the spike to Grant...

GORDON (CONT'D)

(redeemed)

Solid gold. This is one of the real spikes.

WEST

So is this one.

Grant

Someone broke into this room and stole the fake iron spikes, only to replace them with counterfeit gold ones? Why would anyone do that?

West has put down the real one and picked up one of the ones out of the strongbox again. He's a man possessed: examining it carefully while Gordon thinks through the situation out loud.

GORDON

Obviously, not for the gold. For some reason they want us to use these gold spikes instead of the real ones.

WEST

They look identical.

GRANT

(to Gordon)

If you had access to your lab equipment...

GORDON

...I could find out exactly what the difference is. But the train is a hard day's ride away. We can't get it any closer with all these ceremonial trains going in and out.

GRANT

I can!

As Gordon puts the spikes back in the candlesticks, West calms the President.

WEST

Sir, whatever the purpose of these counterfeit spikes - it doesn't matter. We simply aren't going to use them.

GORDON

After the ceremony in the morning, I can investigate at my leisure.

Grant does see the sense in that, and feels like he's been an impulsive alarmist.

GRANT

Of course. Forgive me for doubting you had the situation in hand.

Ushering Grant toward the door...

WEST

Now, if you would like to relax and change before dinner...

GRANT

Thank you. I do.

As he starts to EXIT, he stops and turns to the men.

GRANT(CONT'D)

And I do want to thank you for reminding me of the great wisdom of my predecessor. This division of the treasury - and the choice of you two gentlemen for it's service -

(beat)

I give no pause to your reassurances.

The faith from Grant sits uneasily with West. Gordon is complemented.

GORDON

Thank you, Sir. We do our best.

Grant EXITS.

West turns from the closed door. He isn't giving up.

WEST

There must be an assayer's office in town.

GORDON

(scoffing)

In this town? We're lucky the hotel has running water!

West returns to examining the fake spike. It's clear he is still unconvinced, and insistent.

WEST

It isn't about the spikes - and the thieves are going to know they didn't steal the real ones.

Gordon visibly deflates.

GORDON

(defeated)

And whatever their plans were, they aren't going to give up.

Gordon's mood sours completely.

GORDON (CONT'D)

Jim, you really know how to kill an evening.

INT. BOOTH'S LIBRARY

A typical Victorian era library dominated by a long table.

Present are Booth, Ben and Jerry.

Booth slams a golden spike down onto the table. It rattles three other ones already there.

BOOTH

Fake!

Ben and Jerry are startled by the slam: though not surprised by it

BEN

Boss, we had no way of knowing. They look real!

BOOTH

(incensed)

West is more clever than I gave him credit for. I suspected the ones on display would be fake, but the ones in the safe...

(chiding himself)

The only place less secure than out in the open is the safe where people expect them to be.

JERRY

You want us to kill 'em boss?

BOOTH

What good would killing West do? Killing Lincoln didn't even make a difference!

He starts pacing - pounding his cane into the carpet ferociously as he thinks out loud.

BOOTH (CONT'D)

The Yankees think they've won...destroyed the South: wiped out our culture, laid waste to our economy. They'll learn...

He slams his fist on the table in frustration.

BOOTH (CONT'D)

We need to find and replace the real spikes.

BEN

(defeated)

But the ceremony is tomorrow morning.

Booth is all too aware of that.

BOOTH

We need time.

As if on cue, the door opens and Sheriff Weld ENTERS, followed by FOUR RUFFIANS, each two of them carrying TWO HEAVY WOODEN STRONGBOXES with padlocks, about two feet long by one square foot wide, which they set on the floor.

Weld pushes the brim of his hat back with the end of his shotgun.

WELD

Got the payroll out of the vault, Billy. Every cent of it.

BOOTH

(muttering)

_Lincoln cent..._

Booth grins with delicious satisfaction as an idea occurs to him. It's a damn good impression of the evil landlord in silent films.

BOOTH (CONT'D)

Put it back.

WELD

Back?! The workers are gathered: waiting to be paid for their last six months of work! If they don't get paid...

BOOTH

I imagine they are going to be angry.

Weld doesn't immediately get where Booth is going. But he tries.

WELD

An angry mob of railroad workers is a powerful thing. I could have this town reduced to splinters in a matter of hours.

BOOTH

I need this town. I need this ceremony.

(determined)

The workers were promised to be paid before completion of the railroad, weren't they?

WELD

That's right.

BOOTH

How can they complete the railroad without the Union Pacific owners to drive the final spike?

Now Weld understands - and he can do this.

WELD

I'll make sure the workers know exactly where every one of them is.

BOOTH

You think too small, Weld. You'll be lucky if the incompetents running this ceremony even notice they're missing. We need to get the attention of men that will stop this thing.

Weld is at least several moments behind the audience in his understanding.

He's been told to kidnap the President.

He knows that is no small assignment.

WELD

I'll see to it.

BOOTH

Without any more foul ups.

(to Ben and Jerry)

Go with them. Make sure every worker knows the Union Pacific has failed to deliver their pay as promised.

They acknowledge and EXIT...motioning the men who brought the strong boxes in and they all EXIT.

BOOTH (CONT'D)

(seemingly to the empty room)

I need you to get the location of the real spikes out of West. Can you do it?

Hale steps into frame.

HALE

I can get anything out of any man.

And she can.

But she's worried.

HALE (CONT'D)

Maybe it's time to change our names again: move on. We can always...

Booth knows his plans are fail-proof.

BOOTH

All those times West thought he found me - it's all just been preparation. I want him to know it's me.

Booth smiles in appreciation and draws his hand down her face in affection.

BOOTH (CONT'D)

My love, soon we will cast off the heel of the oppressors and they will quake in the shadow of the country that rises out of the ashes they spread over our land.

HALE

And finally they will recognize that you are the one man who did not become a coward when times were bleak.

BOOTH

(deeply caring)

Someone must save them.

INT. GAMBLING SALOON TENT

Among the patrons SEVERAL MEN, dressed in frock coats, play cards together.

Suddenly, ARMED MEN burst into the room and surround them.

INT. PRIVATE DINING ROOM

A half-eaten meal is on the table.

Gordon and Grant are laughing at a mutual joke. Grant is wearing a simple frock now: Gordon his corduroy jacket - which they both remain in for the rest of the episode.

But as Grant raises his wine glass - he falters: hesitating as if just attacked by a migraine.

West, seated across from them (and dressed in his blue corduroy suit, which he remains in for the rest of the episode) grips the table: taken by surprise. Because this kind of thing never happens to him - yeah, right!

WEST'S POV

Gordon and Grant - the image out of focus - growing -

BLACK.

NORMAL POV

The three men collapsed, unconscious.

Weld saunters in, rifle balanced casually on his shoulder.

Ben and Jerry slip in from behind him...

EXT. PROMONTORY STREET - MORNING

A deluge of rain has overtaken what there is of the town. The street is empty.

INT. HOTEL OFFICE - MOMENTS LATER

Weld, Hewes, Booth and Safford are seated around a table, playing cards casually. Throughout the scene the men continue to play poker without interruption.

West and Gordon ENTER. Seeing the scene, they exchange an irritated glance: this isn't what they expected.

WEST

I've never seen a sheriff's office inside a hotel.

WELD

Thought you'd been here long enough to realize everything is in the hotel. Only real building we got.

GORDON

And the town jail?

WELD

Ain't got one.

GORDON

What do you do with your prisoners?

WELD

Shoot 'em.

West and Gordon are angered by this information. Weld can see he's being judged.

WELD (CONT'D)

By the time the District Judge gets here the town will be gone.

The excuse just rankles West and Gordon more.

SAFFORD

Join us, gentlemen.

West and Gordon are incensed.

WEST

Is this how you react to the President of the United States being kidnapped?!

The men stop playing for a moment - long enough to consider who is going to answer.

WELD

Figured that was your job, West.

West and Gordon fume.

Booth just can't resist being snarky.

BOOTH

Well, it is - isn't it?

GORDON

I take it you haven't been told that all of the Union Pacific Railroad officials have been taken hostage as well?

HEWES

(easily)

Yes, we had to postpone the ceremony indefinitely.

SAFFORD

Couldn't have had it in this rain anyway**.**

West is on the edge.

WEST

What exactly are your plans for handling this, Sheriff Weld?

WELD

Nuthin' to be done about it. Workers sent the ransom demand this morning. They just want to get paid.

West's gone over that edge with a huge, flying leap. He grabs Weld by his shirt and hauls him out of his chair.

WEST

President Grant and five innocent men are being held hostage, their lives in mortal danger - and you sit here playing cards?!

BOOTH

(quickly - he is the best actor of his time)

Union Pacific said they already sent the pay! It'll all get worked out soon enough once I receive it. West and Gordon exchange a look. This just keeps getting better.

WELD

See... no reason at all to fret! All in due time!

West punches Weld and he goes flying across the table - making the others jump up from their seats.

West straightens his coat and heads for the door, and

As West and Gordon EXIT...

INT. HOTEL HALLWAY - CONTINUOUS

As they ENTER from the office.

GORDON

(recommending)

So, I'll take the low road -

Hale is approaching toward West, a PORTFOLIO in her hands and a STRING PURSE on her wrist. West isn't about to argue with Artie now.

WEST

And I'll take the high road.

Gordon starts to nod, but catches sight of Hale. He grins in defeat.

GORDON

The very high road.

He taps his hat and moves past West toward the camera. Hale reaches West.

HALE

Mister West! As we won't be having that celebratory dinner this evening...

WEST

(acknowledging with regret)

No ceremony today.

HALE

(tapping her portfolio)

I was thinking this is a perfect opportunity to show you what I have.

West's eyes aren't on her portfolio.

WEST

I was just thinking how much I'd like to see what you have.

HALE

Lunch then?

West acknowledges, moves to take her arm. She pulls it away from him.

HALE (CONT'D)

Oh, no: not the dining room. These are - personal. I hope you understand, Jim.

West makes the sacrifice - just for her.

WEST

My room then. I'll have lunch sent up.

EXT. PROMONTORY SUMMIT

Establishing shot: the two engines - Central Pacific 60 (Jupiter) and Union Pacific 119 sit on the tracks 100 feet apart.

They are alone, abandoned and cheerless, in the deluge of rain.

INT. WEST'S HOTEL ROOM

The small table with the candlesticks has been set for lunch.

West and Hale stand next to the bed, where he is politely flipping through the photos in her portfolio.

WEST

You're very good.

We SEE some of the PHOTOS as he flips them. No, she's not. She's really not.

HALE

You really think so?

WEST

I expect you'll have a very successful career.

He hesitates - picks up a photo and examines it more closely. His voice is thin.

WEST (CONT'D)

You have quite a few pictures of Billy Lambert here.

She's flustered for a minute - does he know something. She recovers quickly. He couldn't.

HALE

Why, yes. He's on of the main characters in the railroad story. All the rails are his!

West's voice is distracted as he picks up a MAGNIFYING GLASS - as these things are always laying around just when you need them.

WEST

So I've been told.

She tries to distract him more.

HALE

Without the rails.. why, there'd be no railroad, silly!

West is intent on the photograph.

CLOSE ON

The magnified photo...Booth standing sideways to the camera, his hair brushed back.

EVEN CLOSER

...Booth's neck: and the apparent BURN SCAR visible there.

NORMAL POV

West's head snaps up. He's seen a ghost.

HALE (CONT'D)

(vapidly)

Is something wrong, Jim?

Yes. It's a ghost he's been watching for for years.

WEST

I've been looking for a silk suit just like that.

Hale doesn't believe him. She knows he recognized Booth and decides to step up her plans. She immediately moves both West and the topic away, pulling him toward the table.

HALE

I do so love buffalo stew, don't you?

They sit. They are both playing each other.

WEST

It's not exactly French cuisine, but as an American standard it has it's merits.

HALE

I suppose I am not so schooled as you. With all your travels: you must know so much! Perhaps you could teach me?

WEST

That would take some time. This Lambert, how well do you know him?

HALE

I don't. Tell me, Jim: something that's concerned me in my brief travels.

She looks around as if to be sure they are alone, then leans in toward him across the table.

HALE (CONT'D)

How is it that you protect your valuables in all these strange places?

WEST

Most hotels have safes. If not in your room, then in the office.

HALE

Oh, I see. And if they don't?

West sees right through her.

WEST

I make it a rule to never carry valuables.

She's not happy: it's obvious he isn't going to cooperate. And she doesn't have the patience to work it through.

She pulls her napkin out from under the silverware: drops her purse on the floor in doing so.

HALE

Oh dear me!

WEST

Let me...

He bends over to retrieve it - because this kind of thing never happens to him either.

Hale grabs the candlestick and smashes it down on the back of his head.

West collapses, unconscious on the floor.

The candlestick has broken open in her hand, however: and she slides the gold spike out of it.

HALE

(in triumphant)

You disappoint me, my dear.

She quickly opens the other candlestick, retrieves her purse and puts both genuine gold spikes in it.

She pulls it closed tight, then turns and moves over to the wall. She turns the CANDLE SCONCE there and a PANEL slides open to reveal a passage.

As she steps through it...

HALE (CONT'D)

(with disgust)

...and I don't eat _stew._

The panel slides closed.

CLOSE ON

West lying on the floor next to the table.

He opens his eyes. He was never unconscious.

FREEZE FRAME.

END ACT TWO


	4. Chapter 4

ACT THREE

EXT. BANK

A grey stone building with a white wooden entrance porch that is a small shelter from the rain.

"Engineer Lewis Clement" (Gordon in disguise), carrying a small leather suitcase, makes his way up the steps and ENTERS...

INT. BANK - CONTINUOUS

...the bank: which looks no more like a bank than the hotel room looked like a sheriff's office. What's the point of building something substantial, after all.

There's a BANKER sitting at a desk wearing spectacles and reading a BOOK - because it's unlikely this town has a paper. He doesn't seem to notice "Clement". We know he's a banker because he's dressed like one. (Clement is the engineer that designed the railroad path - not the guy who drives one of the trains.)

GORDON

Halo! Halo! Engineer Lewis Clement here.

The Banker peers up at him over the spectacles and is soundly unimpressed.

"Clement" is undeterred.

GORDON (CONT'D)

A mighty deluge Mother Nature is treating us to out there. A fine day to settle in with a hot toddy and immerse yourself in a world where the sun is shining and adventures abound.

The banker's reaction is profound. He blinks.

GORDON (CONT'D)

Fighting those red savages with Buffalo Bill, I'll bet. Good choice: not only entertaining, but educational. No telling when those techniques will come in handy out here in the wild..._wild_ west.

The banker's consideration of the fellow changes: he actually sizes him up. He decides it might be worth the extreme effort to engage another human: something he doesn't waste much energy on normally.

BANKER

Ever seen a windmill?

Now that's a question "Clement" can get excited about.

GORDON

Seen one? Why my good man, I've designed dozens of them! Hundreds, in fact, I'd say. Important engineering structure. They can grind grain, move water about, even generate power -

Leans in conspiratorially...

GORDON (CONT'D)

Mark my word, someday they'll light whole cities.

BANKER

Ever designed one that looks like a man on horseback?

"Clement" starts to answer excitedly: but stops suddenly - his face falling.

A windmill that looks like a man on a horse? What kind of question is that?!

With a sigh, the banker puts the book down.

BANKER (CONT'D)

What can I do for you?

GORDON

(indicating the suitcase)

Well, you see, I've got some very expensive and delicate instruments here that I just don't feel comfortable leaving laying around that hotel over there. I'd like to lock them up in your vault.

BANKER

I didn't know a train engineer's whistle was that valuable.

See, he made the same mistake you did.

GORDON

(proudly)

No, no, no, my good man. I'm not the man who drives the blasted train: I'm the man who told them how to build it: where to lay the tracks and what have you.

The Banker sours.

BANKER

So it was your idea to blast tunnels through all those mountains instead of going around them.

GORDON

(still proudly)

Yes, as a matter of...

He realizes the banker was calling him stupid suddenly.

BANKER

I can tell you right now that big old case isn't going to fit in my safe, anyways.

GORDON

Not your safe: of course not. But your vault...now I'd be willing to pay handsomely to be secure in the knowledge that...

BANKER

I don't have a safe.

"Clement" is struck by disbelief. He looks around, as if he's going to check the outside sign again.

GORDON

This is the town bank, isn't it?

BANKER

It is. But there isn't anyone in town that has that much need for a bank.

GORDON

(in disbelief)

No need for a bank?!

BANKER

Who has money? The workers don't even get paid until the railroad is complete.

GORDON

Well, certainly there's need to secure the money when it arrives - until they get paid!

BANKER

Mister Lambert has his own vault in the basement of the hotel. Perhaps he can spare you a corner.

The banker picks up his book and resumes reading.

It's clear "Clement" has been dismissed. Gordon is unimpressed with the whole thing.

GORDON

(sourly)

Yes, perhaps he can.

INT. WEST'S HOTEL ROOM

West is at the wall. He turns the sconce and the panel slides open.

West steps into the passage and the panel slides shut.

INT. HOTEL PASSAGE - CONTINUOUS

West in a narrow, wooden passage. It's dim.

He reaches down to his belt and pulls out a long wire, which is hidden along the inside seam.

In the narrow space, he twists and cranes to reach down to his boot.

He pulls off the heel and drops out of it's interior a small, metal square with two screws in the top of it.

He bends the wire back and forth until it forms several loops.

Then twists the ends around the screws in the metal piece.

It glows brightly.

Yup. A light bulb lit by a battery is better than a torch any day - even if it is implausible. Artie's a grand friend to have.

He plunges down the passage with the light held out before him.

INT. HOTEL BASEMENT HALLWAY

Clement/Gordon moves along the hallway and approaches a door, which he opens and pokes his head into, peering inside - doesn't find what he's looking for.

He closes it and continues on. Moves to open another door, but turns and moves away swiftly when...

RAILROAD WORKERS approach toward the camera.

Clement/Gordon waits until they pass, then swiftly goes back to the door he passed.

As he reaches it...

...the door opens and TWO MEN ENTER from it Clement/Gordon quickly does a 180 and moves along. Clearly not the door he is looking for.

Clement/Gordon reaches the door that dead-ends the hallway and tries to open it. It's locked.

He feels the door for weaknesses. It's not only locked - it's steel.

Hardly a problem for Gordon.

He pulls a ball of C-3 (it's too early in history for C-4) out of his pocket and wedges it into the door knob plate.

Retrieves a fuse from inside his lapel, pushes it into the C-3.

A match from his belt, dragged along his belt buckle, and he lights the fuse.

He ducks away and waits...

The C-3 EXPLODES.

Gordon (still dressed as Clement but not needing to act like him any longer) darts back to the door, grabs the door knob, and opens it, and EXITS through it into...

INT. BASEMENT ROOM - CONTINUOUS

Gordon ENTERS, stops and looks around. He's in a dusty and spacious basement storage room, filled with roughly made WOODEN BOXES that are shaped like small caskets. (Two planks of wood each side, held together by a vertical cross piece on either end.)

As he looks around he sees -

GORDON'S POV

- the far wall, which has two large barn-type doors that obviously lead to the outside.

NORMAL POV

Gordon turns his attention to the stacked boxes. He moves through them, looking for a likely one to open.

When a VOICE booms out and stops him in his tracks.

VOICE

Choose wisely, my son.

He twists quickly, searching for the source. LAUGHTER(?)from above directs his attention up toward the ceiling -

GORDON'S POV

West, standing in an open doorway at the top of the wall.

WEST

I chose poorly.

GORDON

Jim! How...?

WEST

Apparently they didn't get around to finishing all the secret passages.

GORDON

Well, hold on...

Gordon looks around and finds a COILED ROPE - because there is always one laying around when you need one.

He picks it up, forms a loop, swings it in a circle and throws it up to West -

- who misses it. Even West isn't perfect.

Gordon regathers it, forms another loop, swings it in a circle and again and throws it up to West -

- who catches it this time.

West gathers the rope up, forms his own loop, swings it in a circle, and throws it up -

- and around a support beam near the ceiling.

West is perfect. It's Gordon that isn't.

West let's the rope out - it threads over the beam and then down to a waiting Gordon.

Gordon grabs it and braces himself.

West swings out on the other end and let's himself down the rope...climbing down till he reaches Gordon and the floor. (Alternate: his SLEEVE GUN WEDGE and WIRE/PULLEY.)

As soon as West hits the ground a low WHINE can be heard under the conversation - like an insect in the room.

GORDON (CONT'D)

How was your date?

WEST

Smashing.

He looks around their surroundings.

WEST (CONT'D)

Shall we?

Gordon goes back to one of the boxes. Starts looking for...

...West picks up a CROWBAR off the floor (they are always laying around handy too) and hands it to Gordon: then crosses his arms and waits.

GORDON

Thank you, my dear man.

WEST

The least I could do.

As he pries open the box...

GORDON

The very least.

The box lid comes up and Gordon drops it on the floor on the opposite side from him.

He peers into it...

GORDON'S POV

A RAILROAD TIE in a bed of straw. (The implication is that there are more under it.)

GORDON (CONT'D)

Imagine that -

NORMAL POV

GORDON (CONT'D)

In a town created to finish a railroad...

West peers over his shoulder. The whine gets louder.

WEST

...rails.

It's all a bit anti-climatic.

West steps back. The whine grows softer.

GORDON

Lambert is actually shipping rails to build the railroad.

(confused)

I just don't understand why the rails would be in a vault.

WEST

His name isn't Lambert. It's Booth.

GORDON

Boo..?

(unbelieving)

As in John Wilkes?

West nods tersely.

WEST

The man who killed Lincoln. He's right here in this town.

GORDON

Jim, I know this assignment has dredged up old memories and regrets...

(beat)

Booth's body was positively identified by both his fiance and Doctor May.

WEST

A woman and a man bribed to change his I.D. to positive.

Gordon has less tolerance for West's outlandish notions than his friend has for his. It's clear in his tone.

GORDON

Conspiracy theories, Jim?

WEST

I was at Garret's farm. The man killed had red hair and freckles. That wasn't Booth.

Gordon tries to reason with him.

GORDON

The finest actor of our time...he could have dyed his hair, changed his appearance...

West isn't budging - and Gordon sees that. He's quickly resigned to the truth: because he knows West that well.

GORDON (CONT'D)

Doherty needed him to be Booth.

West has acknowledged the truth years ago.

WEST

The country needed him to be Booth: in order to heal. But I've always known that Lincoln's murderer is alive.

(beat)

He's here.

West leans forward on the box between them. The whine becomes over powering.

WEST (CONT'D)

Living as a rich railroad tycoon -

GORDON

(interrupting, irritated)

What IS that noise?!

West moves away from the box to look -

- the whine grows softer and he realizes -

- it's his slide.

WEST

Artie...

West pulls the slide off his tie and moves it over the open box and the whine grows piercing.

WEST (CONT'D)

Q-metal.

He drops it in Gordon's outstretched hand.

Gordon moves the slide over the stacked boxes in quick succession. The whine grows louder as it gets closer to each box.

GORDON

Every single one of these rails has a core of Q-metal.

Gordon is contemplating.

GORDON (CONT'D)

And entire railroad, stretching across the country, every rail lined with Q-metal...

West tries to make sense of it.

WEST

The high density of the Q-metal makes them more durable.

But West doesn't know the science that Gordon does. Suddenly, Gordon realizes why they are lined with Q-metal. His face grows cold in horror.

GORDON

Jim, this is bad. Very bad.

As usual, that is the understatement of the century.

BOOTH (o.c.)

Now you just had to be difficult, didn't you?

West and Gordon glance quickly -

THEIR POV

Booth in the open door, with Weld and Ben and Jerry: ARMED.

INT. BOOTH'S LIBRARY- LATER

As Booth ENTERS, followed by West and Gordon - at Weld, Ben and Jerry's gunpoint.

The table is set with dinner.

Hale ENTERS the room carrying a coffee pot. She hesitates when she sees the extra men.

BOOTH

We have guests for dinner, dear.

(to West and Gordon)

No need to be rude, gentlemen. Take a seat.

West won't even go near the table.

WEST

(jovially)

I'd be happy to take it if I can use it to smash in your head.

Booth nods to Weld and his men.

Weld grabs him and forces him roughly into a chair. He tries to get up again, they push him back down.

The other men take a step toward Gordon - he hesitates before seeing the futility of resisting and takes the chair next to West.

GORDON

(annoyed and amazed)

I wouldn't believe it if I didn't see it myself. The surgery scar on his neck that looks like a burn -

WEST

- and on his left hand -

Booth helpfully pulls off his glove and offers up his hand -

CLOSE ON

- the letters "JWB" tattooed between his thumb and forefinger.

BOOTH

- my initials.

NORMAL POV

GORDON

I've known actors that do that with their lines - bad actors.

It irks Booth, though he tries to hide it.

WEST

Must be hard to remember your name with so many...Lambert. Billy Bowlegs. Booth.

(beat)

Murderer.

GORDON

My guess it that this lovely young lady is actually Lucy Lambert Hale: devoted, grieving fiance of Booth - widowed before she could be married.

She nods demurely as she takes a seat.

WEST

(clipped. To Hale)

You had a way out. You should have taken it.

GORDON

(to West)

Well, now I understand "Lucy's" personality change after Booth's death. From gay socialite to dour shut in.

WEST

It's not Lucy Hale married to the Secretary of the Navy: it's an imposter.

HALE

A servant who willingly took on a better life.

WEST

She get's Washington society: you wallow in the mud with a madman.

GORDON

(flippant, to West)

Hardly a fair trade.

HALE

You've never experienced true love.

(proudly)

Or true patriotism.

BOOTH

I must say I am honored, Mister West. I never expected to be dining with one of the five men that Lincoln chose personally for his new - "_secret service_".

(beat)

Like most of Lincoln's failed notions, it's not quite "secret" is it?

West isn't taking the bait.

WEST

(chatty, to Gordon)

Failure is something Booth knows well. Lincoln's kidnapping, the assassination of William Seward and Andrew Johnson...

BOOTH

(angry)

I killed Lincoln!

GORDON

(with enthusiasm)

Which rallied the Confederate troops to rise up again and...

He stops. His face falls with pity.

GORDON (CONT'D)

Wait. That didn't happen.

WEST

Jefferson Davis even denounced him.

BOOTH

(incensed)

Coward! I handed him the opportunity and he squandered it. I had no idea how weak he truly was.

WELD

(in disgust)

He groveled like a child: begging for any scraps they would throw, accepting the culls with gratitude.

WEST

The murder of Lincoln brought this country together. We have you to thank for the strength of the Union now.

Booth bites back his response. He knows that West is baiting him.

BOOTH

Eat, gentlemen. Lucy is an exquisite cook.

WEST

I'm not sharing a meal with the coward that murdered Lincoln. Now you're going to kill Grant. Didn't your failure the first time teach you anything?

BOOTH

If Grant dies it'll be due to his own pompous ego - having to be here at this great publicity event.

WEST

You're an enemy of my country, and I'll see you find justice.

BOOTH

I am not the enemy of your country. I am the savior of mine!

GORDON

(to West)

I see we're entering familiar territory here.

WEST

(to Gordon)

Yes: he's now going to explain to us exactly what his elaborate, foolhardy plans are now.

Booth knows what he is doing.

BOOTH

You can't bring me down to the level of the common criminals you've known, Mister West.

(gestures)

Eat.

The two sit stoically.

BOOTH (CONT'D)

Fine then. I'll indulge you.

He stands and strides to the wall, where a MAP of the United States hangs - a crooked line dividing the country from East to West.

BOOTH (CONT'D)

No more relying on weak leaders: I've taken the human equation out of it. Soon, this country will be divided into two countries - North and South - forever: irrevocably.

HALE

(starry eyed)

We will each have our own country, as it should have always been.

Gordon's fears are confirmed.

GORDON

It's a bomb, Jim. One continuous bomb laid along the entire length of the transcontinental railroad.

BOOTH

Very good, Mister Gordon.

(to West)

You see, the Q-metal that I've made the core of the rails is perfectly safe: unless a high-yeild bomb is detonated in contact with it.

WEST

Your spikes - detonated by a special silver mallet, I assume.

BOOTH

Exactly. And with the utter power of the fusion bomb that will create...

GORDON

He's going to break the country in half. Literally. Creating two separate continents where once there was one.

Booth gloats proudly.

It's the final proof to West.

WEST

You've gone completely mad.

He must really be mad: because even the most insane plans usually sound remarkably sane on this show.

BOOTH

What you call madness now, history will call genius.

WEST

I think you're heirs will be disappointed.

Booth isn't impressed.

BOOTH

You're no more than annoying insect to me, West. Eat or don't. The workers have been paid: the hostages released.

(self satisfied)

Soon my spikes will be driven into the rails.

Booth raises a toast with a flourish.

FREEZE FRAME

END ACT THREE


	5. Chapter 5

ACT FOUR

INT. BASEMENT ROOM

West is strapped into an old fashioned ELECTRIC CHAIR. Gordon is chained to the wall with SHACKLES.

The two restraining devices are connected by WIRES. Wires which then lead out of the room.

BOOTH

You'll be happy to know that I've released all the railroad representatives and your precious President Grant. They'll be free to witness this grand event -

He grins manically.

BOOTH (CONT'D)

Up close and personal.

GORDON

(lightly, to West)

They really are all very predictable.

WEST

I'm surprised we don't get bored.

Booth ignores the bait.

BOOTH

I've arranged for you to celebrate the completion of the railway in a truly special way.

WEST'S POV

Following the wires from the chair out of the room.

NORMAL POV

West is rather disappointed in the simplicity of it all.

WEST

These wires: they're connected to the spikes.

GORDON

And when they are hammered in, we'll be electrocuted.

BOOTH

Exactly. Your time is imminent now.

WEST

It's good for a man to know his end is near.

(beat)

I don't suppose you have any gods to pray to as you prepare to meet your maker.

GORDON

Aside from yourself, of course.

Booth's narcascistic confidence is nearly bursting out of him now.

BOOTH

I'm afraid any grand plan to escape and bring me to my final, vindictive justice is only going to come to a - rather - shocking end.

GORDON

(to West)

Oh, they do like to hear themselves talk, don't they?

Booth's amused.

BOOTH

I'll have my men send what's left of your bodies to Washington - and whoever is left alive there.

He EXITS.

INT. HOTEL PARLOUR - LATER

The parlour is over-crowded with people: all of them talking at once. Arguing heatedly, in fact.

Over the noise and confusion, we hear a loud voice..

GRANT

Gentlemen!

The crowd silences.

Grant emerges as a center clearing forms. Booth, Hewes, Safford, Weld, Rev. Todd, Mills, and Dodge make up it's edges.

BOOTH

(annoyed)

NO ONE planned this ceremony?!

There's a mumbled hubbub of agreement in the crowd.

BOOTH (CONT'D)

(muttering)

God save me from amateurs.

Grant motions the crowd to silence and calm with a gentle hand movement - and his words.

GRANT

It's truly not difficult. Not for one experienced in these matters.

He surveys the crowd.

GRANT(CONT'D)

Reverend Todd: you'll open with a prayer?

REV. TODD

(with forceful conviction)

Asking God's favor upon our great enterprise.

You can feel and hear the crowd's confidence and happy energy return.

GRANT

And then the two gold spikes will be driven into the pre-bored holes.

He surveys the crowd again.

GRANT(CONT'D)

Mister Lambert, you'll have the honor of the first: for without you there would be no rails to join.

_Shit!_ Booth's icy smile is frozen - his plan certainly didn't involve being the one to detonate the bomb - or be anywhere near it. His mind races to find a way out.

BOOTH

No, no... NO.

Silence. He's refusing the honor?**!**

BOOTH (CONT'D)

(humbly)

It's the great work of the two railroad companies that have truly brought this country together. It should be their honor to join the rails.

The crowd seizes on the idea. Grant does too.

GRANT

(to Booth)

Quite right. Thank you for deferring the honor. And in keeping with that, BOTH gold spikes should be driven at once.

(to Safford)

Governor Safford, the Central Pacific sent you here to represent them - so you shall drive the spike in their honor.

A quick glance around. The men that were seated at the gambling table and taken hostage start pruning. But Grant's eyes settle elsewhere.

GRANT (CONT'D)

Mister Hewes: you shall drive the other spike in honor of the Union Pacific.

Relief and agreement - except for the men who were vying for it.

WELD

(brusqely)

Now what about the Arizona and Nevada spikes?

Confusion ensues...

Grant moves to take control again...

INT. BASEMENT ROOM - CONCURRENTLY

West and Gordon still held prisoner.

Gordon can see West investigating their options - looking at the details of their situation.

GORDON

Pretty simple: but effective. These wires..

SHOT

Camera follows West's POV as his eyes trace the double wires leading from the chair confining him...

... to the shackles confining Gordon...

...then leading across the floor...

...along the wall...

...and out of the room to the outside.

NORMAL POV

GORDON (CONT'D)

(with a defeatist tone)

...form a continuous circuit. If the wires are broken anywhere along it...

West shifts in the chair: squirming.

SHOT

West twists his right wrist in the restraint - pulling on it, loosening it...

NORMAL POV

GORDON (CONT'D)

We'll be electrocuted instantly.

WEST

(impatient with his doubt)

I see that.

Gordon doesn't believe he sees it.

GORDON

It's death when the railroad is completed: or now.

WEST

Patience, Artie.

CLOSE ON

West's right wrist as he gets the restraint loose enough to maneuver.

He flexes the muscle: his SLEEVE GUN pops out of it.

NORMAL POV

West smiles in satisfaction.

The sleeve gun is pointed directly at Gordon's chest.

Which has Gordon mildly concerned.

GORDON

I admit: it'd be less painful than being electrocuted.

West is squirming again: aiming.

Gordon is downright alarmed.

GORDON (CONT'D)

But I honestly choose... neither!

West shoots -

CLOSE ON

- the wires twisted closely together where they are coming through the wall directly behind Gordon's head.

The bullet strikes the exact spot that the wires are twisted together and severs them both cleanly.

NORMAL POV

As West pulls his right wrist free and starts pulling off the other restraints...

GORDON (CONT'D)

(in happy relief)

That was some mighty fine shooting.

As West frees himself from his chair and darts over to Gordon...

WEST

I was aiming at your head.

EXT. PROMONTORY SUMMIT

WIDE SHOT

A crowd gathered on the summit of mostly workers. The two engines - Central Pacific 60 (Jupiter) and Union Pacific 119 frame the shot: standing 100 feet apart.

CLOSE SHOT

As two railroad rails are laid on a tie made out of California laurel with pre-drilled holes. (8 Chinese workers laid these rails.)

EXT. HOTEL HALLWAY

Ben and Jerry guard the door to the basement room: one standing, one sitting in a simple wooden chair.

The door opens and West darts into the hallway in a hurry.

Ben and Jerry immediately go after him. West swings a right cross at Ben: he blocks it with his left arm and slams his right fist at West's stomach.

West goes flying back - into Gordon as he emerges from the open door. Gordon catches him.

As West plunges back toward the two attacking men...

WEST

The bomb, Artie!

West slams a fist into Ben's stomach: knocking him out of the way so...

Gordon can speed past the fist fight.

Jerry bends and plows head-long into West's middle: slamming him back against the wall.

West raises both arms and brings them down hard on the Jerry's back. He collapses at West's feet.

Ben grabs a nearby chair and swings it at West's head.

West ducks and the chair hits the wall, smashing into pieces.

West steps over the unconscious Jerry and quickly delivers a one-two volley of punches into Ben.

Ben is knocked back against the wall - instantly recovers and slams his fist into West's face.

West pivots from the impact, but instantly jams his left elbow back against the man.

Ben recoils... as West turns and slams a right cross against the man's face.

Ben goes flying and collapses.

EXT. PROMONTORY SUMMIT

A group of people gathered around the two rails: including Grant, Hewes, Safford, Dodge, Weld, Rev. Todd, and Mills.

ANOTHER ANGLE

The back of the crowd looking outward.

Gordon appears over the crest of the hill - running toward the camera and crowd -

ORIGINAL CLOSE SHOT ANGLE

The golden spikes, telegraph wires attached to their shafts, being set in the rail/tie.

ANGLE ON GORDON AGAIN

Gordon runs like a bat out of hell -

INT. BOOTH'S LIBRARY

West bursts into the room at a run

WESTS POV

- the door at the opposite end closing with TWO RUFFIANS standing guard.

NORMAL POV

West drives around the table and at the men.

They attack and he dispatches them quickly with a single punch each.

He jerks the door open and dives through it.

INT. HOTEL BACK STAIRWAY

Booth and Hale run down the stairs, around the landing and into the kitchen -

EXT. PROMONTORY SUMMIT

Ceremonial silver mallets are handed to Hewes and Safford.

ANGLE ON GORDON AGAIN

Gordon fights to get through the boisterous crowds...

...pushing his way through the people...

At last he pushes through the edge and breaks free...

But - it's too late!

NORMAL POV ANGLE

The two hammers sail in a downward arc -

ANGLE ON WEST/GORDON AGAIN

Gordon freezes: ducking as he shields his head with his arms. (Because this will surely be as effective against the thermonuclear blast as a school desk is.)

We HEAR two metal hammers simultaneously hit metal.

And...

INT. STORAGE BARN

West ENTERS: pushing through the door in rush.

WESTS POV

Booth and Hale: standing hand in hand, their backs against a wall covered with lights and circuitry.

And they SHIMMER out of existence.

Yup.

A steampunk transporter!

Booth is gone.

West is - _unhappy_.

EXT. PROMONTORY SUMMIT

Gordon is still shielding himself from...

...nothing.

Gordon straightens cautiously and look...

THEIR POV

A silver mallet resting on the rail NEXT to the spike.

And

The other silver mallet resting on the rail NEXT to the spike.

They both missed. Seriously! (Yes, history is amazing and quite helpful to plots.)

NORMAL POV

The people around burst into laughter.

Hewes and Safford are rightfully embarrassed.

Gordon step through those gathered.

GORDON

I'll just take those now.

Gordon bends down and retrieves the golden spikes. He handles them gingerly as he straightens.

GORDON (CONT'D)

(nodding to Hewes)

You can retrieve these from our safe when you're ready to leave for San Francisco.

Well, not quite those spikes.

ANOTHER ANGLE

West jogs up the hill, approaching the back of the crowd.

NORMAL POV

Gordon standing next to Grant: a bottle of champagne in one hand, a glass of it in the other.

The crowd gathered are celebrating in victory.

West, out of breath, steps through the crowd and next to Gordon.

Gordon smiles, raises the glass to West - who shakes his head.

Understanding, Gordon's grin fades and he lowers the glass.

EXT. UTAH LANDSCAPE

_The Wanderer_ steams away from Utah.

INT. TRAIN VARNISH CAR

SHOT

On West and Gordon sitting at the small table against the left side of the car. (This shot can be framed to see only the table and the two windows behind it, as was seen in season three.)

One of the strongboxes is sitting on the table as they play chess.

GORDON

Another successful mission: the President is on his way home and the railroad is complete.

West is preoccupied. He moves a chess piece.

Gordon sees West's preoccupation in the bad move.

GORDON (CONT'D)

Jim, you found him once. We'll find him again.

Gordon moves a piece.

WEST

It took five years.

GORDON

It won't take another five. You beat him: he can't let that go.

West does smile at that. He moves a piece.

WEST

I didn't beat him: bad aim beat him.

GORDON

(laughing)

I can't believe they BOTH missed.

West chuckles as well. Gordon glances at the box as studies the board.

GORDON (CONT'D)

(gesturing at the box)

I'll be happy when these small bombs are in the hands of scientists. Jim, there may be real uses for this technology as real weapons some day.

WEST

(scoffs dismissively)

No one sane is going to use a bomb that destroys everything. What's the point of winning a wasteland?

Gordon nods in agreement. Then -

GORDON

Should we tell Senator Chandler that his wife isn't really Lucy Hale?

Gordon moves a piece.

WEST

I don't know, Artie: is there ANY man who doesn't know his wife isn't the woman he thought he married?

West grins and moves a piece.

WEST (CONT'D)

Checkmate.

Gordon rolls his eyes in defeat at both West's statement about women and the chess game.

West gloats.

FREEZE FRAME

THE END


End file.
